Rembrandt van Rijn Biography – Rembrandt van Rijn on artnet News Rembrandt van Rijn (Dutch, 1606–1669) was a painter and etcher. Known simply as Rembrandt, he is considered to be one of the greatest painters in European art history. Rembrandt Harmenszoon van Rijn was born on July 15, 1606 in Leiden, the Netherlands. At the age of 14, he attended the University of Leiden, but he eventually left school to become an apprentice to painter Jacob van Swanenburgh (Dutch, 1571–1638). Three years later, Rembrandt moved to Amsterdam, where he apprenticed briefly for famed painter Pieter Lastman (Dutch, 1583–1633). After only six months, the artist returned to Leiden and opened his own art studio with fellow painter Jan Lievens (Dutch, 1607–1674).

By 1627, at the age of 21, Rembrandt began accepting students, including Gerrit Dou (Dutch, 1613–1675). In 1634, Rembrandt married Saskia van Uylenburg. Between 1634 and 1641, the couple had four children, three of whom died shortly after birth. Saskia died in 1642, not long after the birth of their fourth child Titus, the only child who survived into adulthood. Rembrandt''s drawing of Saskia while she lay sick on her death bed is known as one of his most moving pieces. In the late 1640s, Rembrandt began a relationship with his maid Hendrickje Stoffels. In 1654, the couple had a daughter, Cornelia. In 1626, Rembrandt produced his first etchings. Then, in 1629, he completed the painting Judas Repentant, Returning the Pieces of Silver and the Artist in His Studio.

Many of Rembrandt's paintings depict biblical scenes: The Blinding of Samson (1636), Danae (1636), and Belshazzar's Feast (1635). It wasn't until the late 1630s that Rembrandt began to paint landscapes. During the 1650s and 1660s, his biblical paintings changed from dramatic group scenes to portrait-like figures-such as James and the Apostle (1661). He also painted numerous self-portraits during this time. The best-known collections of Rembrandt's work are at Amsterdam's Rijksmuseum, including Night Watch and The Jewish Bride. Other collections are on display at the Louvre in Paris, France, the National Gallery in London, UK, and the Metropolitan Museum of Art in New York, NY. His home in Amsterdam is also preserved and displays numerous samples of his work. Rembrandt died in 1669.

Timeline Rijn, Rembrandt van - Park West Gallery SHARE Rembrandt van Rijn (1606-1669) The ninth of 10 children born to Harmen Gerritzsoon van Rijn, a prosperous miller, and Neeltgen Willemsdochter van Zuytbrouck, the daughter of a baker, Rembrandt was born in Leiden, Holland – then considered to be one of the principal artistic and intellectual centers in Holland. At the age of 13 he enrolled in Leiden University but soon left to pursue art, first as an apprentice to a history painter in Leiden and later under the tutelage of Pieter Lastman, a famous artist in Amsterdam. Returning to Leiden, Rembrandt opened a studio – while still in his teens – with his friend, Jan Lievens, who had also studied under Lastman. By the end of 1631, Rembrandt returned to Amsterdam, having accepted a commission from a well-known physician in the city. He lived with Hendrik van Uylenburg, a successful art dealer, whose cousin he married in 1634.

Rembrandt’s marriage to Saskia van Uylenburg was a benefit to his career, providing him access to wealthy patrons who eagerly commissioned his portraits. As his career flourished, Rembrandt’s private life was beset by tragedies. Of the couple’s four children, three died before reaching the age of three months. The artist suffered more heartbreak when Saskia died shortly after the birth of their son, Titus, who lived to adulthood – but would pre-decease his father. After Saskia’s death, Rembrandt hired Geertje Direx to care for his young son. When the relationship soured – leading to a legal battle – he turned to Hendrickje Stoffels, who eventually became his common-law wife. While the couple’s first child died as an infant, their daughter, Cornelia, survived. Rembrandt had a penchant for an ostentatious lifestyle and was plagued with an obsessive desire to accumulate art and other possessions. After years of living beyond his means, he was forced to declare bankruptcy in 1656. Over the next two years, his home and many of his possessions were auctioned to pay his creditors.

Having lost his wealth, Rembrandt moved with Hendrickje and his children to a small cottage on the outskirts of Amsterdam. He outlived both Hendrickje, who died in 1663 at the age of 37, and Titus, who died in 1668. Within a year of his son’s death, Rembrandt died – on October 4, 1669 in Amsterdam – and was laid to rest in an unmarked grave in the Westerkerk. In many ways, Rembrandt’s etchings are more important than his paintings. He revolutionized a medium that was, in his day, simply a copyist’s tool. Rembrandt painted portraits to sustain himself financially but he made etchings for his personal pleasure, to extend the potential of the etching medium, and to feed his desire for continual creativity. He carried with him a copper plate as most artists carry a sketchbook. In etching Rembrandt allowed himself to create freely without the academic restraints of his day.

Rembrandt was the great master of the Baroque Age, a time known for a style with dramatic application of light and shadow – a technique called “chiaroscuro.” He remains one of history’s most innovative and influential original printmakers. He created more than 300 etchings in his lifetime, many of which he labored over obsessively, often resulting in multiple states or variations in the evolution of an etched image. Scholars have divided his etching output into different categories according to subject. Each reveals a different facet of Rembrandt’s personality. His portraits, including his self portraits, reveal the complexity of his psychology and reveal his general moods over the years. His many religious etchings demonstrate a vast knowledge of both testaments, while his beggar and genre scenes are still being analyzed for their meaning and intent. Rembrandt’s contributions to the medium of etching have inspired countless artists, including many of the most important etchers of all time like Goya, Whistler, Chagall and Picasso. More than 350 years later, his etchings continue to astonish us in their virtuosity, insight and dramatic presence.

Timeline of Rembrandt’s Life and Work 1606 Rembrandt Harmenszoon van Rijn is born on July 15th 1620 Enrolls at Leiden University, but leaves shortly thereafter 1621 Begins apprenticeship with Leiden painter Jacob van Swanenburgh 1624 Sets up studio in Leiden, collaborating with friend Jan Lievens 1624-25 Spends six months studying with renowned painter, Pieter Lastman, in Amsterdam 1626 Returns to Leiden and begins to produce etchings 1628 Accepts his first pupils 1631 Moves to Amsterdam and becomes a successful professional portraitist 1634 Marries Saskia van Uylenburgh, the daughter of a successful art dealer 1635 Saskia gives birth to son Rumbartus, who dies after two months 1638 Daughter Cornelia is born but dies after three weeks 1639 Rembrandt and Saskia move to the house on the Breestraat—now known as the Rembrandt House in Amsterdam 1640 A daughter, also named Cornelia, is born but dies one

 month later 1641 Titus—Rembrandt’s only child with Saskia to live to adulthood—is born in September 1642 Saskia dies, probably from tuberculosis 1654 Rembrandt’s common-law wife, Hendrickje Stoffels, gives birth to Cornelia, the only child to survive the artist 1656 Rembrandt is declared bankrupt by the High Court of Holland 1656-1658 House and possessions are sold at auction 1660 Moves to a modest house on the Rozengracht 1663 Hendrickje dies when the plague sweeps Amsterdam 1665 Rembrandt produces his last etching, a portrait of physician Jan Antonides van der Linden 1668 Titus marries on February 28, but dies a few months later and is buried in the Westerkerk 1669 Titus’ wife gives birth to a daughter, Titia.

Rembrandt dies on October 4th and is buried in an unmarked grave in the Westerkerk To learn more about the Rembrandt Collection at Park West Gallery, please visit . Receive special offers and the latest news! Join Rembrandt Van Rijn Biography Rembrandt Van Rijn Biography Self portrait 1640 Rembrandt Harmenszoon van Rijn was born on July 15, 1606 in Leiden, the Netherlands. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuytbrouck. His family was quite well-to-do; his father was a miller and his mother was a baker's daughter. As a boy he attended Latin school and was enrolled at the University of Leiden, although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, Jacob van Swanenburgh, with whom he spent three years.

After a brief but important apprenticeship of six months with the famous painter Pieter Lastman in Amsterdam, Rembrandt opened a studio in Leiden in 1624 or 1625, which he shared with friend and colleague Jan Lievens. In 1627, Rembrandt began to accept students, among them Gerrit Dou. Self Portrait with a Cap, openmouthed In 1629 Rembrandt was discovered by the statesman Constantijn Huygens, the father of Christiaan Huygens (a famous Dutch mathematician and physicist), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. At the end of 1631, Rembrandt moved to Amsterdam, then rapidly expanding as the new business capital of the Netherlands, and began to practice as a professional portraitist for the first time, with great success. He initially stayed with an art dealer, Hendrick van Uylenburg, and in 1634, married Hendrick's cousin, Saskia van Uylenburg.

Saskia came from a good family: her father had been lawyer and burgemeester (mayor) of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, she lived with an older sister in Het Bildt. They were married in the local church of St. Annaparochie without the presence of his relatives. In the same year, Rembrandt became a burgess of Amsterdam and a member of the local guild of painters. He also acquired a number of students, among them Ferdinand Bol and Govert Flinck. Saskia Wearing A Veil In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat. In 1639, they moved to a prominent house (now the Rembrandt House Museum) in the Jodenbreestraat in what was becoming the Jewish quarter; the mortgage to finance the 13,000 guilder purchase would be a primary cause for later financial difficulties. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes.

Although they were by now affluent, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just 3 weeks of age in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month. Only their fourth child, Titus, who was born in 1641, survived into adulthood. Saskia died in 1642 soon after Titus's birth, probably from tuberculosis. Rembrandt's drawings of her on her sick and death bed are among his most moving works. During Saskia's illness, Geertje Dircx was hired as Titus' caretaker and nurse and probably also became Rembrandt's lover. She would later charge Rembrandt with breach of promise and was awarded alimony of 200 guilders a year. Rembrandt worked to have her committed for twelve years to an asylum or poorhouse (called a "bridewell") at Gouda, after learning Geertje had pawned jewelry that had once belonged to Saskia, and which Rembrandt had given her.

Hendrickje at an Open Door 1656 In the late 1640s Rembrandt began a relationship with the much younger Hendrickje Stoffels, who had initially been his maid. In 1654 they had a daughter, Cornelia, bringing Hendrickje a summons from the Reformed church to answer the charge "that she had committed the acts of a whore with Rembrandt the painter". She admitted this and was banned from receiving communion. Rembrandt was not summoned to appear for the Church council because he was not a member of the Reformed church. The two were considered legally wed under common law, but Rembrandt had not married Henrickje, so as not to lose access to a trust set up for Titus in his mother's will. Rembrandt lived beyond his means, buying art (including bidding up his own work), prints (often used in his paintings) and rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656, by selling most of his paintings and large collection of antiquities.

The sale list survives and gives us a good insight into his collections, which apart from Old Master paintings and drawings included busts of the Roman Emperors, suits of Japanese armour among many objects from Asia, and collections of natural history and minerals; the prices realized in the sales in 1657 and 1658 were disappointing. He also had to sell his house and his printing-press and move to more modest accommodation on the Rozengracht in 1660. The authorities and his creditors were generally accommodating to him, except for the Amsterdam painters' guild, who introduced a new rule that no one in Rembrandt's circumstances could trade as a painter. To get round this, Hendrickje and Titus set up a business as art-dealers in 1660, with Rembrandt as an employee. The Artist's Son Titus c. 1657 In 1661 he (or rather the new business) was contracted to complete work for the newly built city hall, but only after Govert Flinck, the artist previously commissioned, died without beginning to paint.

The resulting work, The Conspiracy of Claudius Civilis, was rejected and returned to the painter; the surviving fragment is only a fraction of the whole work. It was around this time that Rembrandt took on his last apprentice, Aert de Gelder. In 1662 he was still fulfilling major commissions for portraits and other works. When Cosimo III de' Medici, Grand Duke of Tuscany visited Amsterdam in 1667, he visited Rembrandt at his house. Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668, leaving a baby daughter. Rembrandt died within a year of his son, on October 4, 1669 in Amsterdam, and was buried in an unmarked grave in the Westerkerk. Works The Sea Of Galilee In a letter to Huyghens, Rembrandt offered the only surviving explanation of what he sought to achieve through his art: the greatest and most natural movement, translated from die meeste ende di naetuereelste beweechgelickheijt.

The word "beweechgelickhijt" is also argued to mean "emotion" or "motive." Whether this refers to objectives, material or otherwise is open to interpretation; either way, Rembrandt seamlessly melded the earthly and spiritual as has no other painter in Western art. Earlier 20th century connoisseurs claimed Rembrandt had produced over 600 paintings, nearly 400 etchings and 2,000 drawings. More recent scholarship, from the 1960s to the present day (led by the Rembrandt Research Project), often controversially, have winnowed his oeuvre to nearer 300 paintings. His prints, traditionally all called etchings, although many are produced in whole or part by engraving and sometimes drypoint, have a much more stable total of slightly under 300. It is likely he made many more drawings in his lifetime than 2,000, but those extant are more rare than presumed. At one time about ninety paintings were counted as Rembrandt self-portraits, but it is now known that he had his students copy his own self-portraits as part of their training.

Modern scholarship has reduced the autograph count to over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group. Many show him posing in quasi-historical fancy dress, or pulling faces at himself. His oil paintings trace the progress from an uncertain young man, through the dapper and very successful portrait-painter of the 1630s, to the troubled but massively powerful portraits of his old age. Together they give a remarkably clear picture of the man, his appearance and his psychological make-up, as revealed by his richly-weathered face. Among the more prominent characteristics of his work are his use of chiaroscuro, the theatrical employment of light and shadow derived from Caravaggio, or, more likely, from the Dutch Caravaggisti, but adapted for very personal means. Also notable are his dramatic and lively presentation of subjects, devoid of the rigid formality that his contemporaries often displayed, and a deeply felt compassion for mankind, irrespective of wealth and age. His immediate family — his wife Saskia, his son Titus and his common-law wife Hendrickje — often figured prominently in his paintings, many of which had mythical, biblical or historical themes.

Periods, themes and styles Portrait of Haesje van Cleyburgh Throughout his career Rembrandt took as his primary subjects the themes of portraiture, landscape and narrative painting. For the last, he was especially praised by his contemporaries, who extolled him as a masterful interpreter of biblical stories for his skill in representing emotions and attention to detail. Stylistically, his paintings progressed from the early 'smooth' manner, characterized by fine technique in the portrayal of illusionistic form, to the late 'rough' treatment of richly variegated paint surfaces, which allowed for an illusionism of form suggested by the tactile quality of the paint itself. A parallel development may be seen in his skill as a printmaker. In the etchings of his maturity, particularly from the late 1640s onward, the freedom and breadth of his drawings and paintings found expression in the print medium as well. The works encompass a wide range of subject matter and technique, sometimes leaving large areas of white paper to suggest space, at other times employing complex webs of line to produce rich dark tones.

It was during Rembrandt's Leiden period (1625-1631) that Lastman's influence was most prominent. It is also likely that at this time Lievens had a strong impact on his work as well. Paintings were rather small, but rich in details (for example, in costumes and jewelry). Religious and allegorical themes were favored, as were tronies, half-length figures not intended as specific portraits. In 1626 Rembrandt produced his first etchings, the wide dissemination of which would largely account for his international fame. In 1629 he completed Judas Repentant, Returning the Pieces of Silver and The Artist in His Studio , works that evidence his interest in the handling of light and variety of paint application, and constitute the first major progress in his development as a painter. Blinding of Samson During his early years in Amsterdam (1632-1636), Rembrandt began to paint dramatic biblical and mythological scenes in high contrast and of large format ( The Blinding of Samson , 1636, Belshazzar's Feast , c.

1635), seeking to emulate the baroque style of Rubens. With the occasional help of assistants in Uylenburgh's workshop, he painted numerous portrait commissions both small ( Jacob de Gheyn III ) and large ( Portrait of the Shipbuilder Jan Rijcksen and his Wife , 1633, Anatomy Lesson of Dr. Nicolaes Tulp , 1632). By the late 1630s, Rembrandt had produced a few paintings and many etchings of landscapes. Often these landscapes highlighted natural drama, featuring uprooted trees and ominous skies (Cottages before a Stormy Sky, c. 1641, The Three Trees, 1643). From 1640 his work became less exuberant and more sober in tone, possibly reflecting personal tragedy. Biblical scenes were now derived more often from the New Testament than the Old Testament, as had been the case before.

In 1642 he painted the The Night Watch , his largest work and the most notable of the important group portrait commissions which he received in this period, and through which he sought to find solutions to compositional and narrative problems that had been attempted in previous works. In the decade following the Night Watch, Rembrandt's paintings varied greatly in size, subject, and style. The previous tendency to create dramatic effects primarily by strong contrasts of light and shadow gave way to the use of frontal lighting and larger and more saturated areas of color. Simultaneously, figures came to be placed parallel to the picture plane. These changes can be seen as a move toward a classical mode of composition and, considering the more expressive use of brushwork as well, may indicate a familiarity with Venetian art ( Susanna and the Elders , 1637-47). At the same time, there was a marked decrease in painted works in favor of etchings and drawings of landscapes. In these graphic works natural drama eventually made way for quiet Dutch rural scenes. Susanna and the Elders (detail) 1647 In the 1650s, Rembrandt's style changed again.

Paintings increased in size, colours became richer and brush strokes more pronounced. With these changes, Rembrandt distanced himself from earlier work and current fashion, which increasingly inclined toward fine, detailed works. His singular approach to paint application may have been suggested in part by familiarity with the work of Titian, and could be seen in the context of the then current discussion of 'finish' and surface quality of paintings. Contemporary accounts sometimes remark disapprovingly of the coarseness of Rembrandt's brushwork, and the artist himself was said to have dissuaded visitors from looking too closely at his paintings. The tactile manipulation of paint may hearken to medieval procedures, when mimetic effects of rendering informed a painting's surface. The end result is a richly varied handling of paint, deeply layered and often apparently haphazard, which suggests form and space in both an illusionistic and highly individual manner. In later years, biblical themes were still depicted often, but emphasis shifted from dramatic group scenes to intimate portrait-like figures (James the Apostle, 1661).

In his last years, Rembrandt painted his most deeply reflective self-portraits (from 1652 to 1669 he painted fifteen), and several moving images of both men and women ( The Jewish Bride , ca. 1666)--- in love, in life, and before God . Etchings The Hundred Guilder Print Rembrandt produced etchings for most of his career, from 1626 to 1660, when he was forced to sell his printing-press and virtually abandoned etching. Only the troubled year of 1649 produced no dated work. He took easily to etching and, though he also learned to use a burin and partly engraved many plates, the freedom of etching technique was fundamental to his work. He was very closely involved in the whole process of printmaking, and must have printed at least early examples of his etchings himself. At first he used a style based on drawing, but soon moved to one based on painting, using a mass of lines and numerous bitings with the acid to achieve different strengths of line.

Towards the end of the 1630s, he reacted against this manner and moved to a simpler style, with fewer bitings. He worked on the so-called Hundred Guilder Print in stages throughout the 1640s, and it was the "critical work in the middle of his career", from which his final etching style began to emerge. Although the print only survives in two states, the first very rare, evidence of much reworking can be seen underneath the final print and many drawings survive for elements of it. The Three Crosses (second state) 1653 In the mature works of the 1650s, Rembrandt was more ready to improvise on the plate and large prints typically survive in several states, up to eleven, often radically changed. He now uses hatching to create his dark areas, which often take up much of the plate. He also experimented with the effects of printing on different kinds of paper, including Japanese paper, which he used frequently, and on vellum. He began to use "surface tone," leaving a thin film of ink on parts of the plate instead of wiping it completely clean to print each impression.

He made more use of drypoint, exploiting, especially in landscapes, the rich fuzzy burr that this technique gives to the first few impressions. His prints have similar subjects to his paintings, although the twenty-seven self-portraits are relatively more common, and portraits of other people less so. There are forty-six landscapes, mostly small, which largely set the course for the graphic treatment of landscape until the end of the 19th century. One third of his etchings are of religious subjects, many treated with a homely simplicity, whilst others are his most monumental prints. A few erotic, or just obscene, compositions have no equivalent in his paintings. He owned, until forced to sell it, a magnificent collection of prints by other artists, and many borrowings and influences in his work can be traced to artists as diverse as Mantegna, Raphael, Hercules Segers, and Giovanni Benedetto Castiglione. (From wikipedia) Rembrandt - Bio, Facts, Family | Famous Birthdays Rembrandt Cancer Artist#5 About Masterful Dutch Golden Age painter and print-maker. His best-known works include The Night Watch, Bathsheba at Her Bath, and numerous self-portraits.

Before Fame In his youth, he was an apprentice to painter Pieter Lastman. Trivia He was commissioned in 1661 to produce work for the newly-constructed city hall. Family Life He was the ninth child born into the upper-class family of Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuytbrouck. He married Saskia van Uylenburg in 1634 and, in 1654, fathered a daughter named Cornelia with his maid, Hendrickje Stoffels. About This Theme: Rembrandt Preferences Rembrandt Theme Rembrandt Harmenszoon van Rijn was born on July 15, 1606 in Leiden, the Netherlands. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuytbrouck. His family was quite well-to-do; his father was a miller and his mother was a baker's daughter.

As a boy he attended Latin school and was enrolled at the University of Leiden, although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, Jacob van Swanenburgh, with whom he spent three years. After a brief but important apprenticeship of six months with the famous painter Pieter Lastman in Amsterdam, Rembrandt opened a studio in Leiden in 1624 or 1625, which he shared with friend and colleague Jan Lievens. In 1627, Rembrandt began to accept students, among them Gerrit Dou. In 1629 Rembrandt was discovered by the statesman Constantijn Huygens, the father of Christiaan Huygens (a famous Dutch mathematician and physicist), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646.

Portrait of Saskia van Uylenburg 1635 At the end of 1631, Rembrandt moved to Amsterdam, then rapidly expanding as the new business capital of the Netherlands, and began to practice as a professional portraitist for the first time, with great success. He initially stayed with an art dealer, Hendrick van Uylenburg, and in 1634, married Hendrick's cousin, Saskia van Uylenburg. Saskia came from a good family: her father had been lawyer and burgemeester (mayor) of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, she lived with an older sister in Het Bildt. They were married in the local church of St. Annaparochie without the presence of his relatives. In the same year, Rembrandt became a burgess of Amsterdam and a member of the local guild of painters. He also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat.

In 1639, they moved to a prominent house (now the Rembrandt House Museum) in the Jodenbreestraat in what was becoming the Jewish quarter; the mortgage to finance the 13,000 guilder purchase would be a primary cause for later financial difficulties. He should easily have been able to pay it off with his large income, but it appears his spending always kept pace with his income, and he may have made some unsuccessful investments. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes. Although they were by now affluent, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just 3 weeks of age in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month. Only their fourth child, Titus, who was born in 1641, survived into adulthood. Saskia died in 1642 soon after Titus's birth, probably from tuberculosis.

Rembrandt's drawings of her on her sick and death bed are among his most moving works. During Saskia's illness, Geertje Dircx was hired as Titus' caretaker and nurse and probably also became Rembrandt's lover. She would later charge Rembrandt with breach of promise and was awarded alimony of 200 guilders a year. Rembrandt worked to have her committed for twelve years to an asylum or poorhouse (called a "bridewell") at Gouda, after learning Geertje had pawned jewelry that had once belonged to Saskia, and which Rembrandt had given her. In the late 1640s Rembrandt began a relationship with the much younger Hendrickje Stoffels, who had initially been his maid. In 1654 they had a daughter, Cornelia, bringing Hendrickje a summons from the Reformed church to answer the charge "that she had committed the acts of a whore with Rembrandt the painter." She admitted this and was banned from receiving communion. Rembrandt was not summoned to appear for the Church council because he was not a member of the Reformed church.

The two were considered legally wed under common law, but Rembrandt had not married Henrickje, so as not to lose access to a trust set up for Titus in his mother's will. Rembrandt lived beyond his means, buying art (including bidding up his own work), prints (often used in his paintings) and rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656, by selling most of his paintings and large collection of antiquities. The sale list survives and gives us a good insight into his collections, which apart from Old Master paintings and drawings included busts of the Roman Emperors, suits of Japanese armour among many objects from Asia, and collections of natural history and minerals; the prices realized in the sales in 1657 and 1658 were disappointing. He also had to sell his house and his printing-press and move to more modest accommodation on the Rozengracht in 1660. The authorities and his creditors were generally accommodating to him, except for the Amsterdam painters' guild, who introduced a new rule that no one in Rembrandt's circumstances could trade as a painter.

To get round this, Hendrickje and Titus set up a business as art-dealers in 1660, with Rembrandt as an employee. In 1661 he (or rather the new business) was contracted to complete work for the newly built city hall, but only after Govert Flinck, the artist previously commissioned, died without beginning to paint. The resulting work, The Conspiracy of Claudius Civilis, was rejected and returned to the painter; the surviving fragment is only a fraction of the whole work. It was around this time that Rembrandt took on his last apprentice, Aert de Gelder. In 1662 he was still fulfilling major commissions for portraits and other works. When Cosimo III de' Medici, Grand Duke of Tuscany visited Amsterdam in 1667, he visited Rembrandt at his house. Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668, leaving a baby daughter.

Rembrandt died within a year of his son, on October 4, 1669 in Amsterdam, and was buried in an unmarked grave in the Westerkerk. Self Portrait Rembrandt's son Titus, as a monk 1660 Christ in the Storm on the Lake of Galilee 1633 Still missing after robbery from the Isabella Stewart Gardner Museum in 1990 The Abduction of Europa Rembrandt Biography | Timeline Rembrandt Van Rijn: A Life Etched in Copper Who was Rembrandt? Most art lovers would answer that he was a painter. A Baroque Master. An emotive genius whose works come to life through a dramatic interplay of shadow and light. But a printmaker? Fewer people realize that Rembrandt Harmenszoon van Rijn revolutionized the medium. He painted portraits to make a living; he created etchings to test his boundaries. Rembrandt produced his first etchings by the age of 20 and created more than 300 images during his lifetime—often revisiting the same etching time and again to perfect its execution.

His work influenced some of the most renowned print makers in history—including Goya, Whistler, Chagall and Picasso—yet none, save perhaps Picasso, managed to eclipse his virtuosity in the medium. Rembrandt: Popular Success and Personal Tragedy The ninth of ten children born to Harmen Gerritzsoon van Rijn, a prosperous miller, and Neeltgen Willemsdochter van Zuytbrouck, the daughter of a baker, Rembrandt was born in Leiden, Holland—then considered to be one of the principal artistic and intellectual centers in Holland. At the age of 13 he enrolled in Leiden University, but soon left to pursue art, first as an apprentice to a history painter in Leiden and later under the tutelage of Pieter Lastman, a famous artist in Amsterdam. Returning to Leiden, Rembrandt opened a studio—while still in his teens—with his friend, Jan Lievens, who had also studied under Lastman. By the end of 1631, Rembrandt returned to Amsterdam, having accepted a commission from a well-known physician in the city.

He lived with Hendrik van Uylenburg, a successful art dealer, whose cousin he married in 1634. Rembrandt’s marriage to Saskia van Uylenburg was a boon to his career, providing him access to wealthy patrons who eagerly commissioned his portraits. As his career flourished, Rembrandt’s private life was beset by tragedies. Of the couple’s four children, three died before reaching the age of three months. The artist suffered more heartbreak when Saskia died shortly after the birth of their son, Titus, who lived to adulthood—but would pre-decease his father. After Saskia’s death, Rembrandt hired Geertje Direx to care for his young son. When the relationship soured—leading to a legal battle—he turned to Hendrickje Stoffels, who eventually became his common-law wife. While the couple’s first child died as an infant, their daughter, Cornelia, survived. Rembrandt had a penchant for an ostentatious lifestyle and was plagued with an obsessive desire to accumulate art and other possessions. After years of living beyond his means, he was forced to declare bankruptcy in 1656.

Over the next two years, his home and many of his possessions were auctioned to pay his creditors. Having lost his wealth, Rembrandt moved with Hendrickje and his children to a small cottage on the outskirts of Amsterdam. He outlived both Hendrickje, who died in 1663 at the age of 37, and Titus, who died in 1668. Within a year of his son’s death, Rembrandt died—on October 4, 1669 in Amsterdam—and was laid to rest in an unmarked grave in the Westerkerk. Timeline of Rembrandt's Life and Work For more information on the Park West Rembrandt collection: (800)-521-9654 xt. 4 or (248) 354-2343. Copyright© 2009 Park West Gallery. All Rights Reserved. No part of this site may be reproduced in whole or in part without the express written consent of Park West Gallery.

Harmenszoon van Rijn Rembrandt - Biography Samuel van Hoogstraten (1627-1678) Nicolaes Maes (1643-1693) Rembrandt experts disagree about the authenticity of many paintings that were long attributed to him: Were they made by Rembrandt himself, by one of his students, or both? Periods, Themes, and Styles It was during Rembrandt's Leiden period (1625—1631) that Lastman's influence was most prominent. Paintings were rather small, but rich in details (for example, in costumes and jewelry). Themes were mostly religious and allegoric. During his early years in Amsterdam (1632–1636), Rembrandt used large canvases and strong tones and depicted dramatic scenes. Rembrandt painted many portraits in this period. Other paintings had biblical and mythological scenes. In the late 1630s, Rembrandt painted many landscapes and produced etchings about nature. In this period, his landscapes were tormented by nature, showing trees taken down by a storm or ominous skies with dark clouds.

Starting in about 1640, his work became more sober, reflecting the family tragedies that he had suffered. Exuberance was replaced by deeply felt inner emotions. Biblical scenes were now derived more often from the New Testament instead of the Old Testament, as had been the case before. Paintings became smaller again. An exception is the huge painting The Night Watch, his largest, which was as worldly and spirited as any previous painting. Landscapes were more often etched than painted. The dark forces of nature made way for quiet Dutch rural scenes. In the 1650s, Rembrandt's style changed again. Paintings increased in size. Colours became richer, brush strokes stronger. With these changes, Rembrandt distanced himself from earlier work and current fashion, which increasingly inclined towards fine, detailed works. Over the years, biblical themes were still depicted often, but emphasis shifted from dramatic group scenes to intimate portrait-like figures. In his last years, Rembrandt painted some of his finest self-portraits, showing a face on which grief and sorrow had left their marks.

Museum Collections In the Netherlands, the most notable collection of Rembrandt's work is at Amsterdam's Rijksmuseum, including The Night Watch and The Jewish Bride. Many of his self-portraits are held in The Hague's Mauritshuis. His home, preserved as the Rembrandt House Museum in Amsterdam, houses many examples of his engravings. Prominent collections in other countries can be found in Berlin, St. Petersburg, New York City, Washington, D.C., The Louvre and the British Museum. Famous Work - The Night Watch 'The Night Watch' or 'The Militia Company of Captain Frans Banning Cocq' , 1642, Oil on Canvas, Rijksmuseum, Amsterdam. Rembrandt painted The Militia Company of Captain Frans Banning Cocq between 1640 and 1642. This picture was called the Patrouille de Nuit by the French and the Night Watch by Sir Joshua Reynolds because, upon its discovery, the picture was so dimmed and defaced by time that it was almost indistinguishable and it looked quite like a night scene.

After it was cleaned, it was discovered to represent broad day—a party of musketeers stepping from a gloomy courtyard into the blinding sunlight. The piece was commissioned for the new hall of the Kloveniersdoelen, the musketeer branch of the civic militia. Rembrandt departed from convention, which ordered that such genre pieces should be stately and formal, rather a line-up than an action scene. Instead he showed the militia readying themselves to embark on a mission (what kind of mission, an ordinary patrol or some special event, is matter of debate). His new approach caused a row, especially among the militia members who ended up at the back of the scene and were hardly visible. Payment was delayed. Even parts of the canvas were cut off to make the painting fit on the designated wall. This painting now hangs in the largest hall of the Rijksmuseum in Amsterdam. It is a large painting that takes up the entire back wall—despite having had bits cut off—and is arguably one of the most impressive paintings displayed there. It was recently parodied (albeit gently) for the dust jacket of Terry Pratchett's 2002 Discworld novel Night Watch.

Expert Assessments In 1968, the Rembrandt Research Project (RRP) was started under the sponsorship of the Netherlands Organization for the Advancement of Scientific Research (NWO). Art historians teamed up with experts from other fields to reassess the authenticity of works attributed to Rembrandt, using all methods available, including state-of-the-art technical diagnostics, and to compile a complete critical catalog of his paintings. As a result of their findings, many paintings that were previously attributed to Rembrandt have been taken from the list. Many of those are now thought to be the work of his students. This includes such paintings s The Polish Rider, one of the treasures of New York's Frick Collection. Years ago, its authenticity was questioned by several scholars, led by Julius Held. Many, including Dr. Josua Bruyn of the Foundation Rembrandt Research Project, now attribute the painting to one of Rembrandt's closest and most talented pupils, Willem Drost. As of 2003, the investigation is still in progress. Today, a Rembrandt painting can sell for more than 28,000,000 United States dollars. This article is licensed under the GNU Free Documentation License .

It uses material from Wikipedia . Our oil painting reproductions entirely hand crafted by professional and talented artists, have been creating exact on linen canvas within ~5 weeks. Every professional artists are staring with a blank linen canvas. They don't paint over an image on the canvas. Our oil painting reproductions are entirely hand crafted: No projection, simulation or other transfer techniques are employed.

Question: Which artist married Saskia van Uylenburg in 1634?
Answer: Rembrandt